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Arnwine Resigns as Head of Lawyers’ Committee

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mapofshame

by George E. Curry
NNPA Editor-in-Chief

WASHINGTON (NNPA) – Barbara R. Arnwine does not back down from a fight. After the U.S. Supreme Court issued a series of rulings that limited the rights of employees to sue their employers for discrimination, she was a key player in a coalition that effectively reversed the rulings by persuading Congress to pass the Civil Rights Act of 1991.

When many members of her own staff at the Lawyers’ Committee for Civil Rights Under Law were reluctant to file suits against federal agencies in connection with Hurricane Katrina, she persisted, eventually winning a couple of landmark verdicts.

And when so-called progressive forces urged her to be quiet about voter suppression in the wake of Barack Obama’s election as the nation’s first Black president, Arnwine was not deterred, issuing a famous “map of shame” identifying the states where such activity was underway.

The Lawyers’ Committee has announced that after 33 years –26 at the national level and seven years with the Lawyers’ Committee for Civil Rights Under Law of the Boston Bar Association – Arnwine will step down as president and executive director, effective June 30.

“She has steered the Lawyers’ Committee into a more active public policy role on a wide range of contemporary civil rights issues, including the response to Ferguson,” said Marc H. Morial, president and CEO of the National Urban League. “She has been a valued colleague, and a faithful servant. We will miss her leadership.”

Ralph G. Neas, former chairman of the Leadership Conference on Civil and Human Rights, a coalition of more than 200 organizations, said, “Barbara has been a tireless champion on behalf of civil rights for all Americans. Especially noteworthy were her leadership in the passage of the Civil Rights Act of 1991 and the enforcement of the Voting Rights Act.”

Arnwine started thinking about retiring five years ago, but was urged to postpone her move until after the organization could get through a capital drive and observance of the group’s 50th anniversary.

“Then, of course, all the voter suppression stuff started to happen. When that happened, there was no way I could go,” she said.

Energized by yet another fight, the high-energy Arnwine was the point person in the fight against voter suppression.

Morial said, “To execute the election protection effort, she marshaled countless people hours, donated by volunteer lawyers, to staff a hotline, which served as an essential tool for the entire civil rights community.”

It was her “map of shame” that riveted the Black community. In 2011, her organization produced a color-coded map of the United States detailing efforts to suppress the Black and Brown vote.

Unlike many who were discouraged by the brazen political power grab, Arnwine said as a student of history, she had come to expect such shenanigans.

“I know that you only advance when you’re vigilant and you fight constantly,” she explained. “In fact, one of the theories I talk about is that some expect Black progress to be linear when, in fact, it zig-zags. We make tremendous advances and then there’s a backlash – people fight against it.

“Sometimes you’re zigging and zagging at the same time. You can have a President Obama elected, in part because of the Black vote, but at the same time have voter suppression.”

A larger problem, Arnwine said, is that America refuses to address racism in a meaningful way.

“If the goal is White supremacy and Black subordination, and you don’t have the structural mechanisms built into society to destroy that imperative, then the imperative is going to operate,” she said. “The laws are helpful in fighting that imperative, but we don’t have enough structures. People are scared to fight structural racism.”

When asked why, she quickly replied, “Because it’s real change.”

In one of her proudest moments, she brought about real change for victims of Hurricane Katrina.

“Before we filed that lawsuit, I had to fight people on my own staff,” she recalled. “Some refused to work on it and said it was far-fetched.”

John Britton, her legal director, didn’t share that view. And the Lawyers’ Committee successfully sued the Federal Emergency Management Agency (FEMA), contending the agency had a legal obligation to provide housing assistance to victims of natural disasters.

She was invited to address some of the victims at a small church in Gulfport, Miss.

“I will never forget it,” she recounted. “It was a speech I gave where so many people were openly crying. I talked about how God moves even in the midst of tragedy…It was a profound moment. I said to the people that as long were they were willing to fight, that we would be fighting with them; that we weren’t going to be disappearing when the cameras disappeared; that we weren’t going to disappear when the money disappeared; that we weren’t going to disappear when all the volunteers started leaving. I said the Lawyers’ Committee was going to commit itself for the long-range fight for that community and we did. That’s something I am very proud of. We ended up winning over $170 million in a lawsuit against HUD [the Department of Housing and Urban Development] that helped build housing for that region’s poor people who had been ignored.”

Last May, Arnwine was a finalist for president of the NAACP.

One NAACP board member told the NNPA News Service at the time, “All of our civil rights organizations have a problem with a woman serving as their chief, day-to-day spokesperson. Second, the clique that runs the board wants someone they can control, not someone like Barbara, who is talented and her own person.”

Arnwine said is not ready to announce what she calls her “encore career” will be. She is hosting a weekly radio program in Washington, D.C. that she hopes to expand. She plans to do more public speaking. And she hints that she might create a new organization devoted to developing new leadership.

Whatever she decides to do, chances are she’ll be fighting to improve the plight of African Americans and not backing down.

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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